27th November – 20th December 2008
Anna Schwartz Gallery
Beyond the usual vernacular of video art, Daniel Crooks has developed his own approach entirely. Absorbing influences including the early scientific photography of Eadweard Muybridge and Etienne Jules Marey (whose work inspired the seminal Nude descending a staircase, 1912 by Marcel Duchamp), Crooks has a deep understanding of how a work of art can express the experiential value of time.
The subjects of Daniel’s work; the recurrence of city transport systems, lifts in high-rise buildings alongside images of the sea, invoke an idea of the world made as much of time as space and that indeed we ourselves are also made of time. (Wittgenstein quipped that it is best to think of the self as a rope or string).
Crooks works, literally, from inside the medium, deconstructing its time-space matrix to reveal the inner truth about the subjects of video: they are purely temporal.
The five works comprising Intersection are all sourced from the same ‘volume’ of video footage. Each video is a formal variation that navigates an alternative path through the same light field, pushing its own ‘picture plane’ through that space along opposing axes.
The two most figurative videos navigate the entire volume of footage – each swapping time for the vertical or the horizontal. The second, more abstracted videos are reduced to horizontal and vertical ‘planes’.
The centre work – a single pixel of information that tunnels through time – is the intersection between opposing axes, almost like the fulcrum or nodal point, and in turn acts as a pivot for the installation.
These works declare that reproducing first glances won’t do: the great power of art is to reveal truth through an augmentation of how the world appears.